YesNo by Timo Kahlen feels like “traditional” net art, a well crafted stuck webpage for the user’s aural and clickable enjoyment.
The glitches, intended as the visual or audio results of computer accident are an important part of our contemporary machinic culture. Actually the dark side of the digital existence lies in its hidden complexity that is already beyond any human reasonable level, an abyss of running code whose internal faults can never be completely tested. From Jodi‘s use of errors as aesthetic tool to bath the conscience of users in unexpected situations to the latest Glitch Browser, that corrupt the pictures of the browsed website, the machine’s arbitrary behaviors has attracted the attention of many media art pratictioneers, not mentioning the systematic provisional Glitch’s taxonomy formulation by Beflix (Tony Scott). Corrupt by Benjamin Gaulon is a server-side software able to efficiently corrupt any visitor’s uploaded picture. In this case the simulation of machine’s fault is the algorithmic coding of the accident, the research of reproducing the machine unforeseen behaviors, that even if contradictory in terms, gives the glitches the status of an (aesthetical) feature. Ultimately it’s the data freeze as a programmed ultimate goal, that completely reverse its original meaning.